tv s betty goes global from telenovela to international brand reading contemporary television

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Premiering in 2006, the stylish and award winning US hit show Ugly Betty, about kind-hearted ugly duckling Betty Suarez (America Ferrera), is the latest incarnation of a truly global phenomenon that started life as a Colombian telenovela, Yo soy Betty, la fea, back in 1999. The tale has since taken an extraordinary journey around the globe, from the original Colombian Beatriz, Indian Jassi, Chinese Wudi and Israeli Esti to the Flemish Sara, Spanish Bea, Greek Maria and Dutch Lotte as well as Czech Katka, Russian Katka and Turkish Gönül. This groundbreaking book about how television formats go global asks what the Betty phenomenon can tell us about the international circulation of locally produced TV fictions as the Latin American telenovela is sold to, and/or re-made for, different national contexts. The contributors explore what Betty says about the tensions between multimedia conglomerates' commercial demands and the regulatory forces of national broadcasters, about national TV industries' struggle in competitive markets, and about what this international trade reveals about cultural storytelling and audience experience, as well as ideologies of feminine beauty. The book features original interviews with buyers and schedulers, writers, story editors and directors, including the creator of Yo soy Betty, la fea, Fernando Gaitán.

The complete and groundbreaking The L Word is now out on DVD and this book makes the perfect companion, covering the series in its entirety. Loving The L Word picks up where Reading The L Word: Outing Contemporary Television (I.B. Tauris, 2006) left off. With new, updated chapters by many of the same television writers and scholars who contributed to the first volume, as well as essays by some newcomers, Loving The L Word explores the series' quantum contribution to the ongoing evolution of queer television. Whether you loved The L Word, hated it, or loved to hate it, this book recognizes that the show transformed the post-Ellen LGBT television landscape, fulfilling a long-neglected, visceral desire for lesbian stories and images. In the process, it reshaped the communities that follow and talk about queer television and care about the narratives and characters that drive it. Including complete Character/Actor, Film/TV and Episode guides, the book also proceeds from the understanding that while The L Word ended in 2009 it manages to live on—in the lives of its fans, as well as in a new reality spin-off, The Real L Word.

The Asian TV industry is 'unstoppable' reported Variety in 2008, yet most people living in the West have no idea what the rest of the world is watching on TV: what makes them laugh and cry every day. Asian TV drama this book discloses is diverse in form and content, it has value that is local as well as transcultural and its shows have strong appeal in their aesthetics, storytelling, acting and cinematography to large non-Asian as well as Asian audiences. Reading Asian Television Drama offers an insightful overview of Asian television drama from such countries as Malaysia, Singapore, Hong Kong, China and South Korea, and of its cultural impact. Examining both text and context, chapters analyse local dramas closely, including South Korean Hallyu shows like Autumn in my Heart and Beautiful Days. Others focus on an Asian TV network within Asia, as well as Asian global cultural exchange and the international consumption of its television. They provide full and varied coverage of this important TV industry for a wide range of readers.

Dealing primarily with the post-1996 era shaped by digital technologies and defined by consumer choice and brand marketing, this book brings together leading scholars, established journalists and experienced broadcasters working in the field of contemporary television to debate what we currently mean by quality TV. They go deep into contemporary American television fictions, from The Sopranos and The West Wing, to CSI and Lost -- innovative, sometimes controversial, always compelling dramas, which one scholar has described as "now better than the movies!" But how do we understand the emergence of these kinds of fiction? Are they genuinely new? What does quality tv have to tell us about the state of today's television market? And is it quality? Original, often polemic, each chapter proposes new ways of thinking about and defining quality TV. There is a foreword from Robert Thompson, and heated dialogue between British and US television critics. Also included are interviews with W. Snuffy Walden (scored The West Wing among others) and with David Chase (The Sopranos creator).

There's no stopping Betty. Audiences all over the world are cheering for the vibrant overachiever with the spirit and the smarts to live her dream. She may not be fashionable, but in the skin-deep world of high fashion, she's the fairest of them all. Designed to resemble fictional fashion bible Mode magazine, Ugly Betty: The Book offers insider interviews with the cast and creative team as well as a comprehensive episode guide. Plus! Features include: how to win friends at work, your style horoscope, Hilda's quick 'n' easy makeup tips, how to diva up your office space, and complete access to every character's style! And much, more more!

This book is designed for use as a supplementary text in cultural and anthropology courses. The book chronicles the rapid social and economic change in Arembepe, a Brazilian coastal fishing village, which the author has visited repeatedly from 1962 to the present (1991). The new edition brings the account up-to-date by describing and analyzing the past ten years of life in Arembepe.

Doctor Who has been on global television screens for nearly fifty years, and many of its most memorable protagonists have been its monsters, The Daleks, Cybermen, Slitheen, the Sonterans, Ood, Wiirrn, and others. Entertainingly and provocatively written, and introduced by Who scriptwriter Paul Cornell, The Doctor's Monsters takes a new look at these and many other creatures, and asks what inspired them and what lies behind them. If the Daleks are based on ideas of genetic purity, and the Cybermen on fears of transplant surgery, what about the Autons, the Zarbi, or the Weeping Angels? Science fiction critic Graham Sleight examines stories from the whole of Doctor Who's history to give this unique perspective on the series. Why are we so scared of monsters? Why do they look and act the way they do? How do they reflect the time and place that the series is broadcast in? Along the way, the book provides a history - from an unusual angle - of how this most enduring of TV science fiction series has created and recreated itself. The book also contains a comprehensive glossary of the creatures seen in Doctor Who. It is a must for any fan of the series.

This book is about the question of existence, the meaning of ‘life’. It is an enquiry into the contemporary human situation as disclosed by television. The elementary components of any real-world situation are place, people and time. These are first examined as basic existential phenomena drawing on Heidegger’s fundamental enquiry into the human situation in Being and Time. They are then explored through the technological and production care-structures of broadcast television which, routinely and exceptionally, display the situated experience of being alive and living in the world today. It shows routinely in the live self-enactments of persons being themselves and the liveness of their ordinary talk on television. It shows exceptionally in television coverage of great occasions and catastrophes as they unfold live and in real time. Case studies reveal the existential role of television in salvaging the possibility of genuine experience, and in revealing the world-historical character of life today. To explore these questions, the agenda of sociology - its concern with economic, political and cultural life - is set aside. Being in the world is not, in the first (or last) instance, a social but an existential question, as an existential enquiry into television today discovers. Passionate and sweeping in scale, this new book from a leading media scholar is a major contribution to our understanding of the media today.

Soap opera speaks a universal language, presenting characters and plots that resonate far beyond the culture that creates them. Latin American soap operas—telenovelas—have found enthusiastic audiences throughout the Americas and Europe, as well as in Egypt, Russia, and China, while Mexican narco-dramas have become highly popular among Latinos in the United States. In this first comprehensive analysis of telenovelas and narco-dramas, Hugo Benavides assesses the dynamic role of melodrama in creating meaningful cultural images to explain why these genres have become so successful while more elite cultural productions are declining in popularity. Benavides offers close readings of the Colombian telenovelas Betty la fea (along with its Mexican and U.S. reincarnations La fea más bella and Ugly Betty), Adrián está de visita, and Pasión de gavilanes; the Brazilian historical telenovela Xica; and a variety of Mexican narco-drama films. Situating these melodramas within concrete historical developments in Latin America, he shows how telenovelas and narco-dramas serve to unite peoples of various countries and provide a voice of rebellion against often-oppressive governmental systems. Indeed, Benavides concludes that as one of the most effective and lucrative industries in Latin America, telenovelas and narco-dramas play a key role in the ongoing reconfiguration of social identities and popular culture.